This new Blackstone recording of "Canterbury Tales" is wonderful and at times enthralling -- and also at times laugh-out-loud funny. Like the Charlton Griffin recording (also available here), it's the whole ball of wax: every tale, including the often-omitted Tale of Melibee and the Parson's Tale (which is really a three-hour sermon rather than a tale. Listen to it. It's good for the digestion, and quite a bit more interesting than it sounds). This translation, by J.U. Nicholson, uses a more old-fashioned vocabulary in places than the Coghill translation used by Griffin; but at the same time, it's also saltier. There are few crude names for parts or functions of the human body that Chaucer fails to use at one point or another, and most of them find their way into this recording. (For me, that's a GOOD thing!) One notable feature is that this is a multi-voice recording. Martin Jarvis is Chaucer, Ralph Cosham the Lawyer, Simon Vance the Squire; and that's only a few examples. Both this version and Griffin's version are five-star recordings in my book. Griffin's has occasional music, which this one lacks; on the other hand, this one has greater variety of tone and voice.
I've always loved W.H.D. Rouse's prose translations of Homer. They've been available on Audible for years in an older recording by Nadia May. Blackstone has just reissued them in new readings by Anthony Heald, and they're wonderful. Heald is fast becoming one of my favorite readers. His fast-paced, emotionally-charged style is perfectly suited to the breezy rhythms of Rouse's prose. There are other more poetic translations and readings of The Iliad and The Odyssey, but to my mind these are by far the best prose versions -- especially appropriate if your goal is to be immersed in the story rather than the language.
There are some things about Rouse's style you should be aware of, though. Mostly these are reflections of Homer's style, but some translators smooth it over; Rouse does not. Zeus is sometimes referred to Cronides, Cronion, or just plain God. Other characters are referred to sometimes by their names, sometimes by their patronymics (Agamemnon is Atreides, the son of Atreus; Achilles is Peleides, the son of Peleus). Sometimes, as in Cronides/Cronion, those patronymics have more than one form. In addition, Rouse often uses the word "good" to indicate an in-law relationship: a "good-sister" is actually a sister-in-law; a "good-father" is a father-in-law. To me this is part of the charm of the translation, but if you're not prepared for it, it can be confusing.
This is yet another excellent reading of "Frankenstein." There are actually several really good performances of this book on Audible. Simon Vance tends to emphasize the lyrical Romanticism of the prose. Others have other strengths: George Guidall emphasizes the brooding tragedy; the three-reader version from Blackstone highlights the unusual structure of the narrative; and Flo Gibson gives what I think is the only available recording of the shorter 1818 version of the text. (Most use the 1831 revision.) I seem to be collecting versions of this book without realizing it. Vance's reading is lively and clearly differentiates the three major voices in the book (Walton, Frankenstein, and the Creature).
trying to see the world through my ears
Though there are some audio quirks, they didn't significantly interfere with the listen (at least when formatted for ipod). I suppose the quick transmission to downloadable audio may keep the novel's price cheap?
I fell in love with this novel (and Gabriel Oak) when I was 14 and have re-read the paper version several times over the last 35+ years. I hesitated to download it, thinking such a beloved book would suffer in audio, but I really enjoyed the listen. I loved the narrator. She brought to life Hardy's poetic sections, especially those involving the English countryside and farming practices. As others have pointed out, the novel contains a somewhat misogynist portrait, but of a strong-ish heroine (for a Victorian character). In middle age, I felt the misogyny more deeply than back in the 70s, but I put up with it (and often much stronger) in Hardy's contemporaries and predecessors for the beauty if the prose and old fashioned romanticism and realism. Well, admittedly the ending is "too happy;" as someone pointed out --it wasn't Hardy's original ending; I think he had to tone down his realism to get published, but as a teen and now as an old fart, I love the ending. There's enough angst in the world and contemporary lit to suffice for me!
The listen motivates me to download and reacquaint myself with other Hardy novels and perhaps download his bio.